C300: C70. When is this bad boy going to start shipping?

NorBro said:
AbelCine was one of the first as long as I can remember to provide basic transformation LUTs (and all kinds of scene files back in the day).

I may have downloaded them at some point in the last many years, but I can't recall exactly which ones (I have had hundreds of LUTs on different computers as I have bounced around dozens of cameras).
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Do you think for a “true to life” look for the c200’s CRL, there’s anything better than clog2-rec709wideDR?
 
For Canon's version of "true to life" and what their engineers and corporate have decided on, probably as long as the one you're using is not clipping your highlights too much.

I used to love just shooting C-Log3 and only adding contrast and rolling with that for a flat-ish look.

As you/everyone knows, we all see/process differently which is why so many cameras have different looks.
 
NorBro said:
For Canon's version of "true to life" and what their engineers and corporate have decided on, probably as long as the one you're using is not clipping your highlights too much.

I used to love just shooting C-Log3 and only adding contrast and rolling with that for a flat-ish look.

As you/everyone knows, we all see/process differently which is why so many cameras have different looks.
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Thanks. Yes absolutely good point.

Arri LUT on top, clog2-rec709wideDR on the bottom. Arri was adding too much red/pink for my liking. I'm definitely investing more time into grading over the next few months.

I know we're a little off topic but it's cool to hear about what people prefer but just sharing if it helps anyone.

arri.jpg

canon.jpg
 
NorBro said:
I always thought you're great with lighting in your interviews.

Do you think you have a good grasp?
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Thanks norbro!

Yeah sort of, I'm slowly getting there but there's always room to improve. I'm constantly asking what I could have done better, there's no point pretending.

I still shoot solo for people but am shooting more and more with a tiny crew. This obviously starts letting you move beyond what one person can achieve so that was one of the biggest leaps in improvement - bigger lighting set ups and more attention to the image.

The other thing, I think a lot of people see video interviews as an afterthought (at the corporate level at least). Attention is spent shooting b-roll e.g. nothing but gimbals. I've gone the inverse of this and place a lot more emphasis on the interviews. For corporates you're pretty much shooting multiple people talking on camera every single time. I think it's a critical place to add production values, especially if the remaining footage is run and gun b-roll rather than traditional commercial staged shooting.

People try to level up and fast track their skills by begging, borrowing and stealing (renting) the best cameras and lenses, while falling back on a Gaffer to come up with their lighting plan. This is not the way I'd like to progress. I'm moving slowly but (hopefully) surely towards being comfortable creating higher end looks. I've never even shot with an arri/cinema PL lenses but I'd rather be in a place where I know exactly what the benefits of the more serious tools will be, even if it's about tiny details at that point.
 
Probably minimal if it's there, even perceived sharpness via lenses, lighting and/or grading.

Although both are more than good enough for most people and their work, the C70 like the C200 isn't much of a super-sampling camera.
 
Ben_Ericson said:
There's moire on the shirt with the C70. :28.

Interesting, he claims the C200 is sharper.
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I see it on both cameras in the 00:51 side by side (c70 has more). I've never seen it before with the c200 until this.

Not a deal breaker for me but I understand others feel more strongly about it.
 
I have seen moire in Canon Raw Lite footage from the C200 before. It's uncommon, but it does happen. Nothing like the Canon 5Dii days though.
 
Ben_Ericson said:
The people reviewing these cameras must be getting paid by Canon, no?

The skin tone when testing the 16:9 mode at 6:48 is worse than what an iPhone would do in that scenario. The whole color pallet just looks off.

https://youtu.be/lWVSRhJ24Uk

I find it weird that Canon never updated their LUTs when they released this new sensor. The Canon LUT pack is the same download for all of the cameras, but this sensor replicates color much differently than the past Canon cameras I have used.
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Sorry. The video looked like intended for the "yo crowd". Switched off after a few seconds.

Some people obviously want to get on the good books of the manufacturers. Not sure about paid reviews.
 
rob norton said:
Thanks norbro!

Yeah sort of, I'm slowly getting there but there's always room to improve. I'm constantly asking what I could have done better, there's no point pretending.

I still shoot solo for people but am shooting more and more with a tiny crew. This obviously starts letting you move beyond what one person can achieve so that was one of the biggest leaps in improvement - bigger lighting set ups and more attention to the image.

The other thing, I think a lot of people see video interviews as an afterthought (at the corporate level at least). Attention is spent shooting b-roll e.g. nothing but gimbals. I've gone the inverse of this and place a lot more emphasis on the interviews. For corporates you're pretty much shooting multiple people talking on camera every single time. I think it's a critical place to add production values, especially if the remaining footage is run and gun b-roll rather than traditional commercial staged shooting.

People try to level up and fast track their skills by begging, borrowing and stealing (renting) the best cameras and lenses, while falling back on a Gaffer to come up with their lighting plan. This is not the way I'd like to progress. I'm moving slowly but (hopefully) surely towards being comfortable creating higher end looks. I've never even shot with an arri/cinema PL lenses but I'd rather be in a place where I know exactly what the benefits of the more serious tools will be, even if it's about tiny details at that point.
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Very valid point. There is always room to improve. Unless we critically examine our own work, we won't improve.

In India, though english is kind of universal we have many languages so people are not very natural while speaking infront of the camera. A lot of people need a gentle guiding hand. So while interviewing, I prefer to encourage the executives to relax and even help frame their thought and answers as per need. That unfortunately takes up time. However, the responses come out well. Earlier I was in corporate and can understand their problem. During my time infront of camera, I too have spoken three sentences in interviews where one sentence with carefully chosen words could have done a great job. :-)

As far as lighting is concerned, I remember some of the interview samples you had posted here and I liked those. Lighting skills will help in all kinds of productions. So definitely something which shouldn't be simply left to the gaffer.
 
Should the Canon C70 shooting at the same spec (say 4K 4:2:2) have the exact same image as the C300 Mark III? Same sensor and same image processing so same image?
 
Eric Coughlin said:
Should the Canon C70 shooting at the same spec (say 4K 4:2:2) have the exact same image as the C300 Mark III? Same sensor and same image processing so same image?
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I would be curious about the rolling shutter with DGO. An option to turn it off would be great. The C70 doesn't seem great in that regard. The rolling shutter performance seems worse than the C300 Mkii but I haven't done a side by side. Out of the window from a car was pretty nasty in 24fps.

Canon also removed a lot of color profiles. For some reason there is no BT.709 Gamma in CLOG2, and no EOS Standard Matrix or no Cinema EOS Original Matrix.

https://vimeo.com/149836985

IMO EOS Standard and Cinema EOS Original are two of the nicest looking Matrix's. I would be curious if they removed these from the Mkiii as well? I have no idea. Video with side by sides is above.

Of course, the color Matrix profiles can edited pretty heavily, as can the WB shifts.
 
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Ben_Ericson said:
IMO EOS Standard and Cinema EOS Original are two of the nicest looking Matrix's. I would be curious if they removed these from the Mkiii as well? I have no idea. Video with side by sides is above.

Of course, the color Matrix profiles can edited pretty heavily, as can the WB shifts.
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The C300iii has 3 settings for Color Matrix: Neutral, Production Camera, Video
Don't ask me what's the difference :) I have it on Neutral since day 1
 
Clermond said:
The C300iii has 3 settings for Color Matrix: Neutral, Production Camera, Video
Don't ask me what's the difference :) I have it on Neutral since day 1
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Interesting. In the example above, EOS Standard Matrix and Cinema EOS Original stand out. Neutral, Production, and Video look a lot closer to each other.

I found Production Matrix to be the best on the C70 but the differences appear very minor. Editing the WB shift and individual colors in the Matrix however, has a huge effect.
 
Figured I'd post this question outside of Terry's topic too so I can get some extra opinions.

What memory cards are recommended? I don't see any 512 GB available in V90 with from what I've gather V90 is best for the C70. I see AngelBird ($350), Delkin ($429), ProGrade ($215), and Kingston ($193) have 256 GB V90 cards. What's best?
 
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